Ben Katchor's comics of bygone New York

18,225 views ใƒป 2009-04-23

TED


์•„๋ž˜ ์˜๋ฌธ์ž๋ง‰์„ ๋”๋ธ”ํด๋ฆญํ•˜์‹œ๋ฉด ์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค.

๋ฒˆ์—ญ: Seo Rim Kim ๊ฒ€ํ† : Moonjeong Kang
00:18
I'm going to read a few strips.
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์ €๋Š” ๋ช‡๊ฐœ์˜ ๋งŒํ™”๋“ค์„ ์ฝ์„ ๊ฒ๋‹ˆ๋‹ค.
00:23
These are, most of these are
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์ด๊ฒƒ๋“ค์€, ๋Œ€๋ถ€๋ถ„
00:25
from a monthly page I do
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๊ฑด์ถ• ๋ฐ ๋””์ž์ธ์™€ ๊ด€๋ จ๋œ ์›”๊ฐ„ ์žก์ง€์ธ
00:27
in and architecture and design magazine
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๋ฉ”ํŠธ๋กœํด๋ฆฌ์Šค์ง€์—
00:30
called Metropolis.
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๊ฐœ์ œํ•œ ๊ฒƒ๋“ค ์ž…๋‹ˆ๋‹ค.
00:32
And the first story is called
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์ฒซ ๋ฒˆ์งธ ์ด์•ผ๊ธฐ๋Š”
00:34
"The Faulty Switch."
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<์ž˜๋ชป๋œ ์Šค์œ„์น˜> ์ž…๋‹ˆ๋‹ค.
00:36
Another beautifully designed new building
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๋˜ ํ•˜๋‚˜์˜ ์•„๋ฆ„๋‹ต๊ฒŒ ๋””์ž์ธ๋œ ์ƒˆ ๋นŒ๋”ฉ์ด
00:40
ruined by the sound of a common wall light switch.
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ํ‰๋ฒ”ํ•œ ๋ฒฝ ์ „๋“ฑ ์Šค์œ„์น˜์˜ ์†Œ๋ฆฌ ๋•Œ๋ฌธ์— ๋งํ–ˆ์Šต๋‹ˆ๋‹ค.
00:45
It's fine during the day
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๋‚ฎ ๋™์•ˆ์—๋Š” ๊ดœ์ฐฎ์Šต๋‹ˆ๋‹ค.
00:47
when the main rooms are flooded with sunlight.
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์ฃผ์š” ๋ฐฉ๋“ค ์ „์ฒด๊ฐ€ ํ–‡๋น›์œผ๋กœ ๊ฐ€๋“ ์ฐผ์„ ๋•Œ๋Š” ๋ง์ด์ฃ .
00:51
But at dusk
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๊ทธ๋Ÿฌ๋‚˜ ๋•…๊ฑฐ๋ฏธ๊ฐ€ ์ง€๋ฉด
00:53
everything changes.
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๋ชจ๋“ ๊ฒƒ์ด ๋ฐ”๋€๋‹ˆ๋‹ค.
00:55
The architect spent hundreds of hours
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๊ฑด์ถ•๊ฐ€๋Š” ๊ทธ์˜ ์ƒˆ ์‚ฌ๋ฌด์‹ค์„ ์œ„ํ•œ
00:58
designing the burnished brass switchplates
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์œค๊ธฐ๋‚˜๋Š” ์ฒญ๋™ ์Šค์œ„์น˜ํŒ์„ ๋””์ž์ธ ํ•˜๊ธฐ ์œ„ํ•ด
01:02
for his new office tower.
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์ˆ˜ ๋ฐฑ ์‹œ๊ฐ„์„ ๋ณด๋ƒˆ์Šต๋‹ˆ๋‹ค.
01:05
And then left it to a contractor
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๊ทธ๋ฆฌ๊ณ ๋‚˜์„œ ๊ฑด์„ค์—…์ž์—๊ฒŒ
01:07
to install these 79-cent switches behind them.
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๊ทธ ์Šค์œ„์น˜ํŒ ๋’ค์— ์ด 79์„ผํŠธ์˜ ์Šค์œ„์น˜๋ฅผ ์„ค์น˜ํ•˜๊ฒŒ๋” ํ–ˆ์Šต๋‹ˆ๋‹ค.
01:12
We know instinctively where to reach
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์–ด๋‘์šด ๋ฐฉ์— ๋“ค์–ด๊ฐˆ ๋•Œ ์šฐ๋ฆฌ๋Š”
01:15
when we enter a dark room.
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์–ด๋””์— ์†์„ ๋ป—์–ด์•ผ ํ•˜๋Š”์ง€๋ฅผ ๋ณธ๋Šฅ์ ์œผ๋กœ ์•Œ๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
01:17
We automatically throw the little nub of plastic upward.
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์šฐ๋ฆฌ๋Š” ์ž๋™์ ์œผ๋กœ ์ž‘์€ ํ”Œ๋ผ์Šคํ‹ฑ ์กฐ๊ฐ์„ ์œ„๋กœ ์˜ฌ๋ฆฝ๋‹ˆ๋‹ค.
01:21
But the sound we are greeted with,
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ํ•˜์ง€๋งŒ ์šฐ๋ฆฌ๊ฐ€ ๋งž๋‹ฅ๋œจ๋ฆฌ๋Š” ๊ทธ ์†Œ๋ฆฌ๋Š”,
01:24
as the room is bathed in the simulated glow
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๊ทธ ๋ฐฉ์ด ๋Šฆ์€ ์˜คํ›„์˜ ์ธ๊ณต์ ์ธ ๋ถˆ๋น›์œผ๋กœ
01:27
of late-afternoon light,
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์ฑ„์›Œ์ง์— ๋”ฐ๋ผ,
01:30
recalls to mind
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๊ทธ๋ฆฌ์Šค ์ปคํ”ผ์ƒต์˜ ๋’ท ํŽธ์— ์žˆ๋Š”
01:32
a dirty men's room
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๋”๋Ÿฌ์šด ๋‚จ์ž ํ™”์žฅ์‹ค์„
01:34
in the rear of a Greek coffee shop.
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๋– ์˜ฌ๋ฆฌ๊ฒŒ ํ•ฉ๋‹ˆ๋‹ค.
01:37
(Laughter)
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(์›ƒ์Œ)
01:39
This sound colors our first impression of any room;
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์ด ์†Œ๋ฆฌ๋Š” ์šฐ๋ฆฌ์˜ ๋ฐฉ์— ๋Œ€ํ•œ ์ฒซ ์ธ์ƒ์— ์˜ํ–ฅ์„ ๋ฏธ์นฉ๋‹ˆ๋‹ค.
01:43
it can't be helped.
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์–ด์ฉ” ๋„๋ฆฌ๊ฐ€ ์—†์Šต๋‹ˆ๋‹ค.
01:45
But where does this sound,
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์ผ๋ฐ˜์ ์œผ๋กœ ํด๋ฆญ์œผ๋กœ ๋ฌ˜์‚ฌ๋˜๋Š” ์ด ์†Œ๋ฆฌ๋Š”
01:47
commonly described as a click, come from?
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์–ด๋””์—์„œ ์˜ค๋Š” ๊ฑธ๊นŒ์š”?
01:51
Is it simply the byproduct of a
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์ด๊ฒƒ์€ ๊ทธ์ € ๋‘”ํƒํ•œ ๊ธฐ๊ณ„์ ์ธ ์›€์ง์ž„์˜
01:54
crude mechanical action?
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์‚ฐ๋ฌผ์ผ๊นŒ์š”?
01:56
Or is it an imitation
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์•„๋‹ˆ๋ฉด ์ด๊ฒƒ์€ ์šฐ๋ฆฌ๊ฐ€
01:58
of one half the set of sounds we make
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์‹ค๋ง๊ฐ์„ ๋‚˜ํƒ€๋‚ด๋Š” ๋ฐ ์‚ฌ์šฉํ•˜๋Š” ์†Œ๋ฆฌ ์ค‘ ํ•˜๋‚˜๋ฅผ
02:01
to express disappointment?
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๋”ฐ๋ผํ•˜๋Š” ๊ฒƒ์ผ๊นŒ์š”?
02:04
The often dental consonant
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์ธ๊ตฌ์–ด(Indo-European languag)์—์„œ๋Š” ์“ฐ์ง€ ์•Š๋Š”
02:07
of no Indo-European language.
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์ž์Œ์˜ ํ˜•ํƒœ ๋ง์ž…๋‹ˆ๋‹ค.
02:10
Or is it the amplified sound
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ํ˜น์€ ๋ฐ”ํ€ด๋ฒŒ๋ ˆ์˜ ๋‡Œ์—์„œ
02:12
of a synapse firing
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์‹œ๋ƒ…์Šค๊ฐ€ ํ™œ์„ฑํ™”๋˜์—ˆ์„ ๋•Œ ๋‚˜๋Š” ์†Œ๋ฆฌ๊ฐ€
02:14
in the brain of a cockroach?
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์ฆํญ๋œ ๊ฒƒ์ผ๊นŒ์š”?
02:17
In the 1950s they tried their best
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1950๋…„๋Œ€์—, ๊ทธ๋“ค์€ ์ˆ˜์€ ์Šค์œ„์น˜๋ฅผ ์ด์šฉํ•ด์„œ
02:21
to muffle this sound
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์ด ์†Œ๋ฆฌ๋ฅผ ๋ฎ๊ธฐ ์œ„ํ•ด
02:23
with mercury switches
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์ตœ์„ ์„ ๋‹คํ–ˆ์Šต๋‹ˆ๋‹ค.
02:25
and silent knob controls.
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๋ฌด์Œ ์†์žก์ด ์žฅ์น˜๋„ ์‚ฌ์šฉํ–ˆ์ฃ .
02:28
But today these improvements
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๊ทธ๋Ÿฌ๋‚˜ ์˜ค๋Š˜๋‚  ์ด ๋ฐœ์ „๋“ค์€
02:31
seem somehow inauthentic.
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์–ด๋”˜๊ฐ€ ๋ฏฟ์„๋งŒํ•˜์ง€ ์•Š๊ฒŒ ์—ฌ๊ฒจ์ง‘๋‹ˆ๋‹ค.
02:34
The click is the modern
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ํด๋ฆญ์€
02:36
triumphal clarion
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ํ˜„๋Œ€์ ์ธ ์Šน๋ฆฌ์˜ ๋‚˜ํŒ”์†Œ๋ฆฌ์ž…๋‹ˆ๋‹ค.
02:38
proceeding us through life,
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์šฐ๋ฆฌ์˜ ์‚ถ์„ ๊ด€ํ†ตํ•˜๋ฉฐ
02:41
announcing our entry into every lightless room.
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๋น›์ด ์—†๋Š” ๋ฐฉ์— ์ž…์žฅํ•จ์„ ์•Œ๋ฆฝ๋‹ˆ๋‹ค.
02:45
The sound made flicking a wall switch off
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๋ฒฝ์˜ ์Šค์œ„์น˜๋ฅผ ๋Œ ๋•Œ์— ๋‚˜๋Š” ์†Œ๋ฆฌ๋Š”
02:49
is of a completely different nature.
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์ „ํ˜€ ๋‹ค๋ฅธ ์„ฑ์งˆ์˜ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
02:52
It has a deep melancholy ring.
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๊ทธ ๊ฒƒ์€ ๊นŠ๊ณ  ์Šฌํ”ˆ ์†Œ๋ฆฌ์ž…๋‹ˆ๋‹ค.
02:56
Children don't like it.
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์•„์ด๋“ค์€ ๊ทธ ์†Œ๋ฆฌ๋ฅผ ์ข‹์•„ํ•˜์ง€ ์•Š์Šต๋‹ˆ๋‹ค.
02:59
It's why they leave lights on around the house. (Laughter)
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๊ทธ๋“ค์ด ์ง‘์— ๋ถˆ์„ ์ผœ๊ณ  ๋‹ค๋‹ˆ๋Š” ์ด์œ ์ž…๋‹ˆ๋‹ค.
03:03
Adults find it comforting.
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์–ด๋ฅธ๋“ค์€ ๊ทธ ์†Œ๋ฆฌ์—์„œ ์œ„์•ˆ์„ ์–ป์ฃ .
03:05
But wouldn't it be an easy matter
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ํ•˜์ง€๋งŒ ๋ฒฝ์˜ ์Šค์œ„์น˜๋“ค์„ ์—ฐ๊ฒฐ์‹œ์ผœ์„œ
03:07
to wire a wall switch
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์ฆ๊ธฐ๊ธฐ๊ด€ ๋ฐฐ์˜ ์กฐ์šฉํ•œ ๊ฒฝ์  ์†Œ๋ฆฌ๊ฐ€ ๋‚˜๊ฒŒ ํ•˜๋Š” ๊ฒƒ์€
03:10
so that it triggers the muted horn of a steam ship?
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์–ด๋ ค์šด ์ผ์ผ๊นŒ์š”?
03:14
Or the recorded crowing of a rooster?
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ํ˜น์€ ๋…น์Œ๋œ ์ˆ˜ํƒ‰์˜ ์šธ์Œ์†Œ๋ฆฌ๋Š”์š”?
03:19
Or the distant peel of thunder?
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์•„๋‹ˆ๋ฉด ๋จผ ๊ณณ์—์„œ ๋“ค๋ ค์˜ค๋Š” ํ๋ฆฟํ•œ ์ฒœ๋‘ฅ์†Œ๋ฆฌ๋Š”์š”?
03:23
Thomas Edison went through
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ํ† ๋งˆ์Šค ์—๋””์Šจ์€
03:25
thousands of unlikely substances
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๊ทธ๊ฐ€ ๋งŒ๋“  ์ „๊ตฌ์˜ ํ•„๋ผ๋ฉ˜ํŠธ๋กœ ์“ฐ์ผ
03:28
before he came upon the right one
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์ ๋‹นํ•œ ๊ฒƒ์„ ์ฐพ๊ธฐ ์œ„ํ•ด
03:30
for the filament of his electric light bulb.
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์„œ๋กœ ๋‹ค๋ฅธ ์ˆ˜ ์ฒœ๊ฐœ์˜ ๋ฌผ์งˆ๋“ค์„ ์กฐ์‚ฌํ–ˆ์Šต๋‹ˆ๋‹ค.
03:35
Why have we settled so quickly
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์šฐ๋ฆฌ๋Š” ์™œ ์Šค์œ„์น˜์˜ ์†Œ๋ฆฌ์— ์žˆ์–ด์„œ๋Š”
03:37
for the sound of its switch?
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์ด๋ ‡๊ฒŒ ๋นจ๋ฆฌ ๊ฒฐ์ •ํ•ด๋ฒ„๋ ธ์„๊นŒ์š”?
03:40
That's the end of that.
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์ด๊ฒƒ์ด ๋์ž…๋‹ˆ๋‹ค.
03:42
(Applause)
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(๋ฐ•์ˆ˜)
03:45
The next story is called
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๋‹ค์Œ ์ด์•ผ๊ธฐ๋Š”
03:48
"In Praise of the Taxpayer."
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<๋‚ฉ์„ธ์ž์˜ ์ฐฌ์–‘> ์ด๋ž€ ์ด์•ผ๊ธฐ์ž…๋‹ˆ๋‹ค.
03:51
That so many of the city's most venerable taxpayers
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์ด ๋„์‹œ์˜ ๊ฐ€์žฅ ๋•๋ง์žˆ๋Š” ๋งŽ์€ ๋‚ฉ์„ธ์ž๋“ค์ด
03:55
have survived yet another commercial building boom,
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๋˜ ๋‹ค๋ฅธ ์ƒ์—… ๊ฑด๋ฌผ์˜ ๋ถ์—์„œ ์‚ด์•„ ๋‚จ์•˜๋‹ค๋Š” ๊ฒƒ์€
04:00
is cause for celebration.
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์ถ•์ œ๋ฅผ ๋ฒŒ์ผ ์ผ์ž…๋‹ˆ๋‹ค
04:02
These one or two story structures,
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์ด๋Ÿฌํ•œ ์ผ์ธต ํ˜น์€ ์ด์ธต ๊ตฌ์กฐ์˜ ๊ฑด๋ฌผ๋“ค์€
04:06
designed to yield only enough income
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๊ทธ๋“ค์ด ์„œ ์žˆ๋Š” ๊ทธ ๋•…์— ๋Œ€ํ•œ ์„ธ๊ธˆ์„
04:09
to cover the taxes on the land
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๋‚ผ ์ˆ˜ ์žˆ์„ ๋งŒํผ์˜ ์ˆ˜์ž…๋งŒ
04:11
on which they stand,
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๋ฒŒ ์ˆ˜ ์žˆ๋„๋ก ๋งŒ๋“ค์–ด์กŒ์Šต๋‹ˆ๋‹ค.
04:13
were not meant to be permanent buildings.
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์˜๊ตฌ์ ์œผ๋กœ ์‚ฌ์šฉํ•  ์ˆ˜ ์žˆ๋Š” ๊ฑด๋ฌผ์„ ๋งŒ๋“ค ๋ชฉ์ ์ด ์•„๋‹ˆ์—ˆ์Šต๋‹ˆ๋‹ค.
04:17
Yet for one reason or another
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๊ทธ๋Ÿฌ๋‚˜ ํ•œ ๊ฐ€์ง€ ํ˜น์€ ๋‹ค๋ฅธ ์ด์œ ๋กœ
04:19
they have confounded the efforts of developers
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๊ฐœ๋ฐœ์ž๋“ค์˜ ์ด๋Ÿฐ ๋…ธ๋ ฅ์ด ๋ฌด์ƒ‰ํ•˜๊ฒŒ
04:23
to be combined into lots
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๊ทธ๊ฒƒ๋“ค์€ ๊ณ ์ธต๊ฑด๋ฌผ ๊ฑด์„ค์— ์ ํ•ฉํ•œ ์ž๋ฆฌ๋กœ
04:25
suitable for high-rise construction.
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์—ฌ๊ฒจ์ง€๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
04:30
Although they make no claim to architectural beauty,
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๊ฑด์ถ•ํ•™์ ์ธ ์•„๋ฆ„๋‹ค์›€์€ ์ „ํ˜€ ๊ณ ๋ คํ•˜์ง€ ์•Š์„์ง€๋ผ๋„,
04:34
they are, in their perfect temporariness,
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์™„์ „ํžˆ ์ž„์‹œ์ ์ธ ์„ฑ์งˆ์„ ๊ฐ€์ง„ ๊ทธ ๊ฑด๋ฌผ๋“ค์€
04:37
a delightful alternative
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์–ธ์  ๊ฐ€ ๊ทธ๋“ค์˜ ์ž๋ฆฌ๋ฅผ ๋Œ€์‹ ํ• 
04:40
to the large-scale structures
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๋Œ€ํ˜• ๊ฑด๋ฌผ๋“ค์˜
04:42
that might someday take their place.
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์‚ฐ๋œปํ•œ ๋Œ€์•ˆ์ด ๋ฉ๋‹ˆ๋‹ค.
04:46
The most perfect examples
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๊ฐ€์žฅ ์™„๋ฒฝํ•œ ์˜ˆ๋Š”
04:49
occupy corner lots.
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๋ชจํ‰์ด ์ž๋ฆฌ๋ฅผ ์ฐจ์ง€ํ•˜๊ณ  ์žˆ๋Š” ๊ฑด๋ฌผ๋“ค์ž…๋‹ˆ๋‹ค.
04:52
They offer a pleasant respite
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๊ทธ๋“ค์€ ๋ฐ€๋„ ๋†’์€ ๊ฐœ๋ฐœ ํ™˜๊ฒฝ์†์—์„œ
04:54
from the high-density development around them.
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์ƒ์พŒํ•œ ํœด์‹์„ ์ œ๊ณตํ•ฉ๋‹ˆ๋‹ค.
04:57
A break of light and air,
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๋น›๊ณผ ๊ณต๊ธฐ๊ฐ€ ์žˆ๋Š” ํœด์‹์ด์ž
05:00
an architectural biding of time.
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๊ฑด์ถ•์ ์ธ ์‹œ๊ฐ„์˜ ๊ฒฌ๋”ค์ด์ฃ .
05:03
So buried in signage
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์ด๋Ÿฐ ๊ฑด์ถ•๋ฌผ๋“ค์˜
05:05
are these structures,
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์ˆ˜ ๋งŽ์€ ๊ฐ„ํŒ๋“ค ๋•Œ๋ฌธ์—,
05:07
that it often takes a moment
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์—ฌ๊ธฐ์„œ ํ˜„๋Œ€์ ์ธ ๊ฒƒ๋“ค์„ ๋ถ„๊ฐ„ํ•˜๋Š”๋ฐ์—๋Š”
05:09
to distinguish the modern
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์ข…์ข… ์‹œ๊ฐ„์ด ๊ฑธ๋ฆฌ๊ธฐ๋„ ํ•ฉ๋‹ˆ๋‹ค.
05:11
specially constructed taxpayer
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ํŠนํžˆ ๊ฑด์„ค ๋‚ฉ์„ธ์ž๋“ค๊ณผ ์ด๋“ค์˜ ์ด์›ƒ์˜ ๊ตฌ๋ถ„์— ์žˆ์–ด์„œ๋Š”
05:14
from its neighbor:
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๋”์šฑ ๊ทธ๋Ÿฌํ•ฉ๋‹ˆ๋‹ค.
05:16
the small commercial building
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์„ธ๊ธฐ ์ดˆ๊ธฐ์— ์ง€์–ด์ง„
05:19
from an earlier century,
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์กฐ๊ทธ๋งˆํ•œ ์ƒ์šฉ ๊ฑด๋ฌผ์€
05:21
whose upper floors have been sealed,
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์œ—์ธต์€ ๋ง‰ํ˜€์ ธ ์žˆ๊ณ 
05:24
and whose groundfloor space
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1์ธต์˜ ๊ณต๊ฐ„์€
05:26
now functions as a taxpayer.
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์ด์ œ ๋‚ฉ์„ธ์ž์˜ ์—ญํ• ์„ ํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
05:30
The few surfaces not covered by signs
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๊ฐ„ํŒ์œผ๋กœ ๊ฐ€๋ ค์ง€์ง€ ์•Š์€ ๋ช‡๋ช‡์˜ ํ‘œ๋ฉด์€
05:33
are often clad in a distinctive, dark
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ํŠน์ดํ•œ ์–ด๋‘์šด ํšŒ๋…น์ƒ‰์˜
05:36
green-gray, striated aluminum siding.
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์•Œ๋ฃจ๋ฏธ๋Š„ ์ค„๋ฌด๋Šฌ ์™ธ์žฅ์žฌ๋กœ ๋ฎ์—ฌ ์žˆ์Šต๋‹ˆ๋‹ค.
05:41
Take-out sandwich shops,
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ํ…Œ์ดํฌ ์•„์›ƒ ์ƒŒ๋“œ์œ„์น˜ ๊ฐ€๊ฒŒ๋“ค,
05:43
film processing drop-offs,
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ํ•„๋ฆ„ ํ˜„์ƒ์„ ๋งก๊ธฐ๋Š” ๊ฐ€๊ฒŒ๋“ค,
05:46
peep-shows and necktie stores.
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ํ•์‡ผ(peep-show) ๊ฐ€๊ฒŒ๋“ค๊ณผ ๋„ฅํƒ€์ด ๊ฐ€๊ฒŒ๋“ค์ด ์žˆ์Šต๋‹ˆ๋‹ค.
05:49
Now these provisional structures have,
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์ด๋Ÿฌํ•œ ์ž„์‹œ์ ์ธ ๊ตฌ์กฐ๋“ค์€
05:52
in some cases,
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์–ด๋–ค ๊ฒฝ์šฐ์—๋Š”
05:54
remained standing
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๋ณด๋‹ค ๋‚˜์€ ์ธ๊ฐ„์˜ ์‚ถ์„ ์œ„ํ•˜์—ฌ
05:56
for the better part of a human lifetime.
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์กด์žฌํ•ด ์™”์Šต๋‹ˆ๋‹ค.
06:00
The temporary building
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์ด ์ž„์‹œ์ ์ธ ๊ฑด๋ฌผ๋“ค์€
06:02
is a triumph of modern industrial organization,
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ํ˜„๋Œ€ ์‚ฐ์—… ๊ตฌ์กฐ์˜ ์Šน๋ฆฌ์ž…๋‹ˆ๋‹ค.
06:06
a healthy sublimation
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๊ฑด์„ค์— ๋Œ€ํ•œ ์š•๋ง์˜
06:08
of the urge to build,
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๊ฑด์ „ํ•œ ์Šนํ™”์ฃ .
06:11
and proof that not every
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๊ทธ๋ฆฌ๊ณ  ๋ชจ๋“  ๊ฑด์ถ•์ ์ธ ๋ฐœ์ƒ๋“ค์ด
06:13
architectural idea
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๋Œ์— ์ƒˆ๊ฒจ์ ธ์•ผ ํ•˜๋Š”๊ฒƒ์ด ์•„๋‹˜์„
06:15
need be set in stone.
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์ฆ๋ช…ํ•ฉ๋‹ˆ๋‹ค.
06:19
That's the end.
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๋์ž…๋‹ˆ๋‹ค.
06:21
(Laughter)
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(์›ƒ์Œ)
06:23
And the next story is called, "On the Human Lap."
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๋‹ค์Œ์˜ ์ด์•ผ๊ธฐ๋Š” <์ธ๊ฐ„์˜ ํ—ˆ๋ฒ…์ง€์— ๋Œ€ํ•˜์—ฌ> ์ž…๋‹ˆ๋‹ค.
06:26
For the ancient Egyptians
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๊ณ ๋Œ€ ์ด์ง‘ํŠธ์ธ๋“ค์—๊ฒŒ ์žˆ์–ด
06:29
the lap was a platform
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ํ—ˆ๋ฒ…์ง€๋Š”
06:31
upon which to place
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์ฃฝ์€์ด๊ฐ€ ์ƒ์ „์— ์ง€๋‹ˆ๊ณ  ์žˆ๋˜ ๋ฌผํ’ˆ๋“ค์„
06:33
the earthly possessions of the dead --
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๋‚ด๋ ค๋†“๋Š” ์žฅ์†Œ์˜€์Šต๋‹ˆ๋‹ค.
06:36
30 cubits from foot to knee.
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๋ฌด๋ฆŽ๊ณผ ๋ฐœ ์‚ฌ์ด์˜ 30ํ๋น—์ž…๋‹ˆ๋‹ค.
06:39
It was not until the 14th century
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์ดํƒˆ๋ฆฌ์•„์˜ ํ•œ ํ™”๊ฐ€๊ฐ€
06:42
that an Italian painter
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ํ—ˆ๋ฒ…์ง€๊ฐ€
06:44
recognized the lap
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์‚ด๊ณผ ์˜ท์œผ๋กœ ์ž˜ ์žฅ์‹๋œ
06:46
as a Grecian temple,
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๊ทธ๋ฆฌ์Šค์˜ ์‹ ์ „๊ฐ™์€ ๊ฒƒ์ด๋ผ๋Š” ๊ฒƒ์„ ์•Œ์•„์ฑˆ ๊ฒƒ์€
06:48
upholstered in flesh and cloth.
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14์„ธ๊ธฐ๊ฐ€ ๋‹ค ๋˜์–ด์„œ ์ž…๋‹ˆ๋‹ค.
06:52
Over the next 200 years
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๊ทธ ํ›„ 200๋…„ ๋™์•ˆ
06:55
we see the infant Christ
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์šฐ๋ฆฌ๋Š” ์•„๊ธฐ ์˜ˆ์ˆ˜๊ฐ€ ์•‰์€ ํฌ์ฆˆ์—์„œ
06:57
go from a sitting to a standing position
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์ผ์–ด๋‚œ ํฌ์ฆˆ๋กœ ๋ฐ”๋€ ๊ฒƒ์„ ๋ณด๊ฒŒ ๋ฉ๋‹ˆ๋‹ค.
07:00
on the Virgin's lap,
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์„ฑ๋ชจ ๋งˆ๋ฆฌ์•„์˜ ํ—ˆ๋ฒ…์ง€์—์„œ ๋ง์ด์ฃ .
07:02
and then back again.
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๊ทธ๋ฆฌ๊ณ  ๋‹ค์‹œ ๋Œ์•„๊ฐ‘๋‹ˆ๋‹ค.
07:04
Every child recapitulates this ascension,
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๋ชจ๋“  ์•„์ด๋Š” ๊ทธ์˜ ์ผ์–ด์„ฌ์„ ๋ฐ˜๋ณตํ•ฉ๋‹ˆ๋‹ค.
07:08
straddling one or both legs,
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ํ•œ ์ชฝ ํ˜น์€ ์–‘์ชฝ ๋‹ค๋ฆฌ๋ฅผ ๋ฒŒ๋ฆฌ๊ณ  ์•‰๊ฑฐ๋‚˜,
07:11
sitting sideways,
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์˜†์œผ๋กœ ์•‰๊ฑฐ๋‚˜,
07:13
or leaning against the body.
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ํ˜น์€ ๋ชธ์— ๊ธฐ๋Œ€๋Š” ์‹์œผ๋กœ ๋ง์ด์ฃ .
07:16
From there, to the modern ventriloquist's dummy,
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๊ทธ๊ฒƒ์—์„œ๋ถ€ํ„ฐ ํ˜„๋Œ€์˜ ๋ณตํ™”์ˆ ์‚ฌ์˜ ์ธํ˜•๊นŒ์ง€๋Š”
07:20
is but a brief moment in history.
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๋‹จ์ง€ ์—ญ์‚ฌ์˜ ํ•œ ์ˆœ๊ฐ„์ผ ๋ฟ์ž…๋‹ˆ๋‹ค.
07:23
You were late for school again this morning.
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๋‹น์‹ ์€ ์˜ค๋Š˜ ์•„์นจ์— ๋˜ ํ•™๊ต์— ๋Šฆ์—ˆ์Šต๋‹ˆ๋‹ค.
07:26
The ventriloquist must first make us believe
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๋ณตํ™”์ˆ ์‚ฌ๋Š” ๋จผ์ €, ์šฐ๋ฆฌ๋กœ ํ•˜์—ฌ๊ธˆ
07:30
that a small boy is sitting on his lap.
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๊ทธ์˜ ํ—ˆ๋ฒ…์ง€์— ์ž‘์€ ๋‚จ์ž์•„์ด๊ฐ€ ์•‰์•„ ์žˆ๋‹ค๊ณ  ๋ฏฟ๊ฒŒ ํ•ด์•ผ ํ•ฉ๋‹ˆ๋‹ค.
07:34
The illusion of speech follows incidentally.
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์—ฐ์„ค์˜ ํ™˜์ƒ์ด ๋ถ€๊ฐ€์ ์œผ๋กœ ๋’ค๋”ฐ๋ฆ…๋‹ˆ๋‹ค.
07:37
What have you got to say for yourself, Jimmy?
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์ง€๋ฏธ์•ผ ๋„ˆ์˜ ๋ณ€๋ช…์€ ๋ฌด์—‡์ด๋‹ˆ?
07:41
As adults we admire the lap
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์šฐ๋ฆฌ ์–ด๋ฅธ๋“ค์€ ํ—ˆ๋ฒ…์ง€๋ฅผ ๋™๊ฒฝํ•ฉ๋‹ˆ๋‹ค.
07:44
from a nostalgic distance.
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ํ–ฅ์ˆ˜๋ฅผ ๋Š๋ผ๋Š” ์ธก๋ฉด์—์„œ ๋ง์ด์ฃ .
07:48
We have fading memories
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์šฐ๋ฆฌ๋Š” ๊ทธ ์ž„์‹œ์ ์ธ ์‹ ์ „์— ๋Œ€ํ•œ
07:50
of that provisional temple,
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ํ๋ฆฟํ•œ ๊ธฐ์–ต์„ ๊ฐ€์ง€๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
07:52
erected each time an adult sat down.
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๊ทธ๊ฒƒ์€ ํ•œ ์–ด๋ฅธ์ด ์•‰์„ ๋•Œ๋งˆ๋‹ค ๋ฐœํ˜„ํ•˜๋Š” ๊ฑฐ์ฃ .
07:56
On a crowded bus there was always a lap to sit on.
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์‚ฌ๋žŒ์ด ๋งŽ์€ ๋ฒ„์Šค์—์„œ๋„ ํ•ญ์ƒ ์•‰์„ ํ—ˆ๋ฒ…์ง€๋Š” ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
08:01
It is children and teenage girls
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์•„์ด๋“ค๊ณผ ์‹ญ๋Œ€ ์†Œ๋…€๋“ค์ด์•ผ๋ง๋กœ
08:04
who are most keenly aware
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์ด๊ฒƒ์˜ ๊ฑด์ถ•ํ•™์ ์ธ ์•„๋ฆ„๋‹ค์›€์„
08:06
of its architectural beauty.
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๊ต‰์žฅํžˆ ์ž˜ ์•Œ๊ณ  ์žˆ๋Š” ์‚ฌ๋žŒ๋“ค์ž…๋‹ˆ๋‹ค.
08:10
They understand the structural integrity
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๊ทธ๋“ค์€ ์‚ผ์ดŒ์˜ ์ž์ƒํ•จ๊ณผ๋„ ๊ฐ™์€ ํ—ˆ๋ฒ…์ง€์˜ ๊ตฌ์กฐ์ ์ธ ์˜จ์ „ํ•จ์„
08:13
of a deep avuncular lap,
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์ดํ•ดํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
08:16
as compared to the shaky arrangement
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๊ทธ๊ฒƒ์€ ํ•˜์ดํž์„ ์‹ ์€ ๋ถˆ์•ˆ๋ถˆ์•ˆํ•œ ๋ชจ์Šต์˜
08:19
of a neurotic niece in high heels.
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์‹ ๊ฒฝ์งˆ์ ์ธ ์กฐ์นด์™€๋Š” ๋น„๊ต๋˜๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
08:24
The relationship between the lap and its owner
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ํ—ˆ๋ฒ…์ง€์™€ ๊ทธ์˜ ์ฃผ์ธ๊ณผ์˜ ๊ด€๊ณ„๋Š”
08:28
is direct and intimate.
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๋งค์šฐ ์ง์ ‘์ ์ด๊ณ  ์‚ฌ์ ์ž…๋‹ˆ๋‹ค.
08:31
I envision a 36-story,
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์ €๋Š” 450์ฑ„์˜ ์ง‘์„ ๊ฐ€์ง„
08:33
450-unit residential high-rise --
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36์ธต์งœ๋ฆฌ ๊ฑฐ์ฃผ์šฉ ๊ณ ์ธต ๊ฑด๋ฌผ์„ ๊ทธ๋ ค๋ด…๋‹ˆ๋‹ค.
08:38
a reason to consider the mental health
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์ค‘์š”ํ•œ ๊ณ„์•ฝ์„ ์ฒด๊ฒฐํ•˜๊ธฐ ์ „์—
08:41
of any architect before granting
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๊ฑด์ถ•๊ฐ€์˜ ์ •์‹ ๊ฑด๊ฐ•์„ ์‚ดํŽด์•ผ ํ•˜๋Š” ์ด์œ ๋ฅผ
08:43
an important commission.
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์ƒ๊ฐํ•ด๋ด…๋‹ˆ๋‹ค.
08:46
The bathrooms and kitchens will,
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ํ™”์žฅ์‹ค๊ณผ ๋ถ€์—Œ์—๋Š”
08:48
of course, have no windows.
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๋ฌผ๋ก , ์ฐฝ๋ฌธ์ด ์—†์„ ๊ฒ๋‹ˆ๋‹ค.
08:51
The lap of luxury
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ํŽธ์•ˆํ•จ์€
08:54
is an architectural construct of childhood,
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์–ด๋ฆฐ ์‹œ์ ˆ์˜ ๊ฑด์ถ•ํ•™์ ์ธ ๊ตฌ์กฐ๋ฌผ๋กœ์„œ,
08:58
which we seek, in vain,
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์šฐ๋ฆฌ ์–ด๋ฅธ๋“ค์€ ๊ทธ๊ฒƒ์„ ์ด์šฉํ•˜๊ธฐ ์œ„ํ•ด
09:00
as adults, to employ.
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ํ—›๋˜์ด ์ฐพ๊ณค ํ•ฉ๋‹ˆ๋‹ค.
09:03
That's the end.
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๋์ž…๋‹ˆ๋‹ค.
09:05
(Laughter)
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(์›ƒ์Œ)
09:08
The next story is called "The Haverpiece Collection"
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๋‹ค์Œ ์ด์•ผ๊ธฐ๋Š” <ํ•ด๋ฒ„ํ”ผ์Šค์˜ ์ˆ˜์ง‘๋ฌผ (The Haverpiece Collection)> ์ž…๋‹ˆ๋‹ค.
09:11
A nondescript warehouse,
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ํ‘ธ๋ฆฌ์ฟ ์‹œ์ฝ” ๊ณ ์†๋„๋กœ์˜ ๋ถ์ชฝ ๊ฒฝ๊ณ„์—์„œ
09:14
visible for a moment
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์ˆœ๊ฐ„์ ์œผ๋กœ ๋ณด์ธ
09:16
from the northbound lanes of the Prykushko Expressway,
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ํŒป๋ง ์—†๋Š” ์ฐฝ๊ณ ๋Š”
09:21
serves as the temporary resting place
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์œ ๋Ÿฝ์˜ ๋ง๋ฆฐ ๊ณผ์ผ๋“ค์„ ๋ชจ์€
09:25
for the Haverpiece collection
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ํ•˜๋ฒ„ํ”ผ์Šค์˜ ์ˆ˜์ง‘๋ฌผ์ด
09:28
of European dried fruit.
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์ž„์‹œ์ ์œผ๋กœ ์ €์žฅ๋˜๋Š” ๊ณณ์ด์—ˆ์Šต๋‹ˆ๋‹ค.
09:32
The profound convolutions
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๋งˆ๋ฅธ ์ฒด๋ฆฌ์˜ ํ‘œ๋ฉด์—
09:34
on the surface of a dried cherry.
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๊ทน์‹ฌํ•œ ์ฃผ๋ฆ„์ด ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
09:37
The foreboding sheen of an extra-large date.
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์•„์ฃผ ํฐ ๋Œ€์ถ”๋“ค์€ ๊ด‘ํƒ์„ ๊ฐ€์ง€๊ณ  ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
09:42
Do you remember wandering as a child
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์—ฌ๋Ÿฌ๋ถ„์€ ์–ด๋ฆฐ ์‹œ์ ˆ์—
09:45
through those dark wooden
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๊ทธ ์ง™์€์ƒ‰ ๋‚˜๋ฌด๋กœ ๋งŒ๋“ค์–ด์ง„ ์ƒ์  ์•ž์˜ ๊ฐค๋Ÿฌ๋ฆฌ๋ฅผ
09:47
storefront galleries?
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๋ฐฉํ™ฉํ•˜๋˜ ๊ฒƒ์„ ๊ธฐ์–ตํ•˜์‹œ๋‚˜์š”?
09:49
Where everything was displayed
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๋ชจ๋“  ๊ฒƒ๋“ค์ด ๋ฐ”ํ€ด๋ฒŒ๋ ˆ ๋ฐฉ์ง€๋ผ๊ณ  ํ‘œ์‹œ๋œ ์ƒ์ž ์•ˆ์—
09:51
in poorly labeled roach-proof bins.
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์ „์‹œ๋˜์–ด ์žˆ์—ˆ์ฃ .
09:56
Pears dried in the form
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์„ฑ๊ธฐ์˜ ๋ชจ์–‘์œผ๋กœ
09:58
of genital organs.
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๋ง๋ ค์ง„ ๋ฐฐ.
10:01
Apricot halves
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๋ฐ˜์œผ๋กœ ๋‚˜๋ˆ„์–ด์ง„ ์‚ด๊ตฌ๋Š”
10:03
like the ears of cherubim.
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์ฒœ์‚ฌ๊ฐ™์€ ์•„์ด์˜ ๊ท€์™€ ๊ฐ™์ฃ .
10:05
In 1962 the unsold stock
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1962๋…„์— ํŒ”๋ฆฌ์ง€ ์•Š์€ ์ฃผ์‹๋“ค์€
10:10
was purchased by Maurice Haverpiece,
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๋ชจ๋ฆฌ์Šค ํ•ด๋ฒ„ํ”ผ์Šค๊ฐ€ ์ƒ€์Šต๋‹ˆ๋‹ค.
10:13
a wealthy prune juice bottler,
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๊ทธ๋Š” ๋ง๋ฆฐ ์ž๋‘ ์ฅฌ์Šค๋ฅผ ๋ณ‘์— ๋‹ด์•„ ํŒŒ๋Š”, ๋ถ€์œ ํ•œ ์‚ฌ๋žŒ์ด์—ˆ๊ณ 
10:15
and consolidated to form the core collection.
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์ค‘์š”ํ•œ ์ˆ˜์ง‘์„ ํ•˜๊ธฐ๋กœ ๊ตณ๊ฒŒ ๋งˆ์Œ์„ ๋จน์€ ์‚ฌ๋žŒ์ด์—ˆ์ฃ .
10:20
As an art form it lies somewhere between
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์˜ˆ์ˆ ์˜ ํ˜•ํƒœ๋กœ ๋ดค์„ ๋•Œ,
10:23
still-life painting and plumbing.
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๊ทธ๊ฒƒ์€ ์ •๋ฌผํ™”์™€ ๋ฐฐ๊ด€ ์ž‘์—… ์‚ฌ์ด์˜ ์–ด๋”˜๊ฐ€์— ์žˆ์Šต๋‹ˆ๋‹ค.
10:27
Upon his death in 1967,
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1967๋…„์— ๊ทธ๊ฐ€ ์ฃฝ์„ ๋•Œ๊ฐ€ ๋‹ค ๋˜์—ˆ์„ ๋•Œ,
10:31
a quarter of the items were sold off for compote
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๋ฌผํ’ˆ๋“ค์˜ 25%๋Š” ๊ณผ์ผ ๋””์ €ํŠธ๋ฅผ ๋งŒ๋“ค๊ธฐ ์œ„ํ•ด ํŒ”๋ ธ์Šต๋‹ˆ๋‹ค.
10:35
to a high-class hotel restaurant.
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๊ณ ๊ธ‰ ํ˜ธํ…”์— ๋ง์ด์ฃ .
10:38
(Laughter)
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(์›ƒ์Œ)
10:39
Unsuspecting guests were served
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์˜์‹ฌ์—†๋Š” ์†๋‹˜๋“ค์€
10:42
stewed turn-of-the-century
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์ƒˆํ•ด์˜ ์ฒซ ๋‚ ์—
10:44
Turkish figs for breakfast.
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ํ„ฐํ‚ค์‚ฐ ๋ฌดํ™”๊ณผ๋ฅผ ์•„์นจ์œผ๋กœ ๋จน์—ˆ์Šต๋‹ˆ๋‹ค.
10:47
(Laughter)
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(์›ƒ์Œ)
10:48
The rest of the collection remains here,
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๊ทธ ๋‚˜๋จธ์ง€ ์ˆ˜์ง‘๋ฌผ๋“ค์€ ์ด๊ณณ์— ์žˆ์Šต๋‹ˆ๋‹ค.
10:51
stored in plain brown paper bags
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ํ‰๋ฒ”ํ•œ ๊ฐˆ์ƒ‰ ์ข…์ด ๋ด‰์ง€์— ๋ณด๊ด€๋˜์–ด์„œ ๋ง์ด์ฃ .
10:55
until funds can be raised
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์˜๊ตฌ์  ๋ฐ•๋ฌผ๊ด€๊ณผ ์—ฐ๊ตฌ ์„ผํ„ฐ๋ฅผ
10:58
to build a permanent museum
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๋งŒ๋“ค์ˆ˜ ์žˆ์„ ๋งŒํผ
11:00
and study center.
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๊ธฐ๊ธˆ์ด ๋ชจ์—ฌ์ง€๊ธฐ ์ „๊นŒ์ง„ ๋ง์ด์ฃ .
11:02
A shoe made of apricot leather
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์‚ด๊ตฌ ๊ฐ€์ฃฝ์œผ๋กœ ๋งŒ๋“ 
11:05
for the daughter of a czar.
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๋”ธ์„ ์œ„ํ•œ ์‹ ๋ฐœ์ž…๋‹ˆ๋‹ค.
11:08
That's the end. Thank you.
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๋์ž…๋‹ˆ๋‹ค. ๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค.
11:11
(Applause)
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(๋ฐ•์ˆ˜)
์ด ์›น์‚ฌ์ดํŠธ ์ •๋ณด

์ด ์‚ฌ์ดํŠธ๋Š” ์˜์–ด ํ•™์Šต์— ์œ ์šฉํ•œ YouTube ๋™์˜์ƒ์„ ์†Œ๊ฐœํ•ฉ๋‹ˆ๋‹ค. ์ „ ์„ธ๊ณ„ ์ตœ๊ณ ์˜ ์„ ์ƒ๋‹˜๋“ค์ด ๊ฐ€๋ฅด์น˜๋Š” ์˜์–ด ์ˆ˜์—…์„ ๋ณด๊ฒŒ ๋  ๊ฒƒ์ž…๋‹ˆ๋‹ค. ๊ฐ ๋™์˜์ƒ ํŽ˜์ด์ง€์— ํ‘œ์‹œ๋˜๋Š” ์˜์–ด ์ž๋ง‰์„ ๋”๋ธ” ํด๋ฆญํ•˜๋ฉด ๊ทธ๊ณณ์—์„œ ๋™์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค. ๋น„๋””์˜ค ์žฌ์ƒ์— ๋งž์ถฐ ์ž๋ง‰์ด ์Šคํฌ๋กค๋ฉ๋‹ˆ๋‹ค. ์˜๊ฒฌ์ด๋‚˜ ์š”์ฒญ์ด ์žˆ๋Š” ๊ฒฝ์šฐ ์ด ๋ฌธ์˜ ์–‘์‹์„ ์‚ฌ์šฉํ•˜์—ฌ ๋ฌธ์˜ํ•˜์‹ญ์‹œ์˜ค.

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